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3 fingers... RMI or RMIM???

#21
Billy's a total proponent of RMI. However, he also practices RMIM and IMR just for the workout. Says he practices pretty much everything forward, backward, and inside out - literally.

If I'm doing straight fast passages, definitely RMI. If I'm just grooving, I don't follow a pattern. I'll do IM or IR at times too for the exercise or if it just feels right.

The gallop goes away, just takes a lot of repetition (like everything else). Building up the muscles and callouses to as almost even as possible.
 
#22
I'm working on using three fingers, trying each configuration out.

But I've used my ringfinger for a long time, when I needed to cover the distance between 3 or 4 strings fast.
Like going IMIMIM on the E string and hopping (for 1 note or longer) over to the D string i would go RIMIMIMIM.

But I'm far from being a technical player with super precision :), Gotta keep working on that.
 
#23
I do that a lot too, start with the ring and go into IM. Does come in handy for skipping strings.

Billy's views, if I may put on my fanboy hat for a moment...

RMI is pretty natural. He talks about if you're sitting and waiting for the dentist, drumming your fingers on the table, they fall RMIRMIRMI naturally. Practice will develop it to smooth out the gallop; RMIM takes thought on top of it, and that's the last thing you want to do.

He says when he does use two fingers, he uses IR, because they're identical in length - at least on him. He bends his fingers at the 2nd knuckle (from the tip), that's where all his motion comes from.

{/end fanboy}
 
#25
Both. RMIM most of the time when I actually want to use 3 fingers. But thats more show than anything for me. I'm still faster with just 2 fingers.

I'm no fan of people who insist on proper technique..if you look at it..Larry Graham..would have bad technique..I'm not going to argue that with him..thats pretty damn snobby. Get all techniques that you can down...there..done..fini.
 
#26
JPaulGeddy said:
I do that a lot too, start with the ring and go into IM. Does come in handy for skipping strings.

Billy's views, if I may put on my fanboy hat for a moment...

RMI is pretty natural. He talks about if you're sitting and waiting for the dentist, drumming your fingers on the table, they fall RMIRMIRMI naturally. Practice will develop it to smooth out the gallop; RMIM takes thought on top of it, and that's the last thing you want to do.

He says when he does use two fingers, he uses IR, because they're identical in length - at least on him. He bends his fingers at the 2nd knuckle (from the tip), that's where all his motion comes from.



{/end fanboy}
Click to expand...

his cherry lane vid yeah ;)
love that one.
 
#27
I'd say don't even stay within that fraction
Use weird combinations like IRIMR or something
Just to get out of a set pattern
If you jus do one thing and get used to that something may come up that'll throw you off
That's teh best advice I got when I started useing three fingers
Steve Digiorgio site
The first stuff it had for three fingers was incredibly easy stuff, except it had your fingers movin in weird patterns that would suck to try normally
For quick lil Sheehan breakdowns and things like that I find that jus RMI works best for me, but otherwise I try to always do weird orders
But other than all that do what works best for what your playin
For me RMIR makes quick things more even
RMI kinda makes it a little too trippletty (sweet word) sometimes, but sometimes you want that, and others you can get past that, but I'd jus say plug in and take a bit of time aside to listen to how each sounds when you play it and deicide what works when and what sounds like what
Jus my opinion thogh *shrug*
 
#28
I started 3 fingers almost 2 years ago, derivating from the technique i would use for playing chords on bass: using T-I-M (Thumb-Index-Middle) and T-I-M-R (4 fingers). I started it for playing double octaves more easily (70' funk or stuff like "River People" by Weather Report :D), and it works. I use a lot for soloing too and I think that way is very easy and intuitive for playing stuff like triplets and arpeggios from the top strings to the bottom strings (e.g. say Cmaj7 arpeggio from 8th fret of E string down to the G string, or down to C for 5/6 string basses). Then i started RMI too, because it is more useful for playing from BOTTOM to TOP ( from the G or C string up to the E or B). Now i am incorporating everything (still working on it...:p), so i use TIM, IMR or TIMR and RMI or RMIT, depending if what i'm playing is ascending or descending and if it is a triplet pattern or 2-4 notes pattern. I don't "mix" fingers (RIM, or IRM, etc.) because i think it would be a big effort to develop it and i don't know how much more useful it would be, so i always use one way (from T to R) or the other way (from R to T). But i still use 2 fingers too, when it is more convenient or 3/4 fingers isn't useful at all...
 
#29
I find the IM or MI works for almost all my needs. Sometimes I have to pull out a RMI for the Steve Harris type gallops. The real thing to do is just play around and figure out which feels better to you, and use it as you see fit.

With advanced techniques, you dont have the same "right and wrong" you do with simpler techniques. Most people will fall into a grey zone for what works best for them.
 
#30
Personally I use both in different situations. for 16th notes its RMIM, but when I need to play anything in groups of 3 like 6 tuplets I use RMI.

For me both styles are very difficult to control especially with string skipping. Mostly I'm limited to playing 4 notes per string at high speeds.

-1-2-3-4------------|
---------1-2-3-4----|
-------------------- |
-------------------- |

BTW does anybody know if there is a difference to IMRM, or RMIM. To me it feels wierd on the first set of 16 notes with RMIM.
 
#34
For what its worth, this is how I work it. It depends on what Im playing but I can go either IM or III or MMM or IMMIIMMII, or IMR *RMI (I don't have a galloping problem either with that, if I am looking for a gallop I have to make a conscious effort to do so) , IMRR, MR, IMRP, IR, etc. It seriously all depends on what Im playing. In other words, its just 'whatever'... Is it good technique? I dunno, probably not. But it works for me. Some pieces have a set pattern for the plucking hand, others do not, others don't until I find the right formula for it and until then its 'whatever'.
 
#35
So, how do you break yourself of the gallop with RMI? And does anyone use all four fingers? If so how?
Click to expand...
I'm proud to say that I have mastered using all four fingers. I just started working at slow speeds with four finger technique and a metronome and slowly worked into my style from three finger. It's a valuable tool seeing as it lets you play as fast or faster than most speed metal guitarists (I don't think it's entirely out of reach to be able to play sixteenth notes at 290 to 300 bpm with four fingers).
 
#39
Jaco did only IM or MI and played some awesome 16th note stuff, incorporating large jumps (6ths and octaves).

James jamerson used only one finger with lots of rakes. IIIIIIIIII.

Abe Laboriel used his classical guitar background which I relate to (PIMA as well as AMI where A=annulare = ring finger=R).

Vic Wooten has popularized the up/down stroke.

Steve Stills uses mostly his thumb (I think).

James Brown wanted only down strokes.

Lots of metal gallopers - the latest interesting thing is the APIM, definitely not a classical guitar approach.

An awesome local player - Dan Workman - uses a picking style PIM that resembles a demented Mother Maybelline Carter in lieu of slap and it sounds great.

There are many ways to skin a mule, depending on what you are trying to do.
 

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